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Born in Camberwell, south London, [Denis Groutage] was evacuated to Northampton at the beginning of the second world war. His theatrical career began there in 1945 at the New Theatre. He moved to London the following year to work at the Criterion, followed by a period on tour, and after national service returned to backstage work, firstly at the Stoll. He joined the Old Vic in 1951, toured South Africa and Germany with them, and as properties master, now a post absorbed into stage management duties, worked with many stars, including Richard Burton.

Remarkably speedily, [Zena Walker] was playing leading roles at the Memorial Theatre, Stratford-upon-Avon, in the era of Glen Byam Shaw (her first mentor). Impressing with a Miranda of grave, questing grace to Ralph Richardson's Prospero in Michael Benthall's nacreous production of The Tempest (1952). Wisely Stratford held on to this unexpected new talent, bringing her back the following season for a feisty Juliet. Back in London, this searing display led only to offers of supporting roles in glossy West End productions, including an uneasy revival of Anouilh's Waltz of the Toreadors (Haymarket, 1974) and a footling part in a glumly plodding C.P. Snow adaptation, The Case in Question (Haymarket, 1975). Another revival, Separate Tables (Apollo, 1976) starring an unlikely pairing of John Mills and Jill Bennett, had a fine, understated performance from Walker as the manageress of the hotel in which both plays of Rattigan's double- bill take place. She understood instinctively Rattigan's oblique handling of emotion and her outwardly brisk, no-nonsense manner did not fail to suggest the tornado-strength feelings beneath, but it was hardly a stretch of her talent. Peter Nichols again provided one of Walker's best opportunities when she played in the West End production of his play of adultery with alter- egos, Passion Play (Wyndham's 1981) directed with a sharp eye for its acerbic comedy by Mike Ockrent. She also seized on the chances offered in a revival of Noel Coward's Easy Virtue (Garrick, 1988) playing a respectable dragon-matriarch facing the prospect of a scandalous, cosmopolitan daughter- in-law; in Walker's hands the character became a wonderfully rich and blissfully funny study of outraged English snobbery and repression.

\"[Robert Helpmann]'s life was the theatre,\" [Anna Bemrose] writes, \"and nothing, not even his `dismissal' from the Australian Ballet, could destroy his passion for the arts.\" Is anyone's life really only defined by their public appearances? Even Elizabeth Salter's 1978 authorised biography managed to tell us more about Helpmann the man than Bemrose does. Salter wrote about Helpmann's long relationship with Michael Benthall, with whom he shared a home until Benthall's death in 1974. In Bemrose's book, written long after Helpmann's death and with no restraints of authorisation, Benthall is identified only as a stage director. (He directed Helpmann and Katharine Hepburn in their 1955 tour of Australia.) One cannot, of course, compare biography with autobiography, but [Jim Sharman]'s discussion of his life should be read as a guide to how we may think about the relationship between sexuality and creativity. Indeed, Sharman's reflections on growing up gay in the '50s could help decode Helpmann's concerns in The Display. Sharman recounts a reference to his wearing \"red shoes\" by someone who clearly saw them as equivalent to Wilde's green carnation: Helpmann had appeared in the famous film of that name.

Introduction (pg. 383-385). Art (pg. 385-391). Architecture (pg. 391-393). Opera (pg. 393-395). Ballet (pg. 395-396). Theatre (pg. 397-401). Cinema (pg. 401-405). Music (pg. 405-411). Broadcasting (pg. 411-412).

\"I'd seen a lot of the material they'd found before I got there. So I knew Hampton was tremendously rich,\" recalls Joseph L. Benthall, whom Evans hired as the first full-time professional archaeologist to explore the newly accessible historic landscape. \"The wonderful thing about Hampton -- at least for archaeologists -- is that it's so rich with targets from so many parts of the past. That's why the contraband camp has to be done,\" says Hank Lutton, who led the Goodyear and Old Point digs. Staff graphic (color) by Mark St. John Erickson and Wayne Elfman with photos courtesy of James River Institute for Archaeology, Hampton History Museum, W&M Center for Archaeological Research and Daily Press archive; Downtown Hampton has been the site of 18 major archaeological excavations since 1966, making the historic settlement founded in 1610 one of the nation's best-documented urban areas. The digs are plotted here on a 1781 French map of Hampton, which has been an invaluable tool in the exploration of America's oldest continuous English town.Photo (color) Courtesy of Robert S. HunterIn the late 1980s, archaeologists explore the foundation of the structure that served as the Bunch of Grapes Tavern in 1700s Hampton. Daily Press file photo (color)This close-up view of a 1700s cellar entrance unearthed in the late 1980s off Settlers Landing Road in downtown Hampton shows its proximity to the Virginia Air & Space Center. Photo (color) Courtesy of the Hampton History Museum Among the most startling finds of the mid-1980s dig on the Hampton waterfront was the ritual burial of an early 1700s pirate, whose remains were placed face down at the tidal line.

Some professors believe the capacity for evil exists within everyone - and it's a theory lent weight by both the Abu Ghraib torture scandal and Dr Stanley Milgram's electroshock experiments in the 1960s,where participants followed orders and gave what they thought were damaging electric shocks to others. Arditti presents himself as an author who attended college with a character called Felicity Benthall, who attempted to blow up diplomatic representatives from the United Nations in October 1977, but instead killed herself, her uncle the British ambassador, his deputy, two secret service men and the Polish charge d'affaires.